The No.1 Website for Pro Audio
Softube Console 1 WOW!!!
Old 1 week ago
  #5101
Lives for gear
 
Softube Console 1 owners - The channel strips seem to all be on offer currently. I'd love 'em all but will try and pick 1 or 2 up. Decisions decisions.
Old 1 week ago | Show parent
  #5102
Gear Addict
 
🎧 5 years
Quote:
Originally Posted by Neptune45 ➡️
Softube Console 1 owners - The channel strips seem to all be on offer currently. I'd love 'em all but will try and pick 1 or 2 up. Decisions decisions.
The British class a is my most used and the one in my cubase template.
Old 1 week ago | Show parent
  #5103
Gear Head
 
🎧 10 years
I’m in the same boat, I have just gotten the Console 1 and I’m tempted by the sale. I have the Console 1 compatible Chandler Germanium, Weiss C/L and Weiss MP and I’m a bit confused with the different channel strips and the integration of other Console 1 compatible plugins.

Have I understood correctly that having the Weiss C/L and MP is a good choice over the Gambit only if they are used outside the Console 1, and in Console 1 they are essentially the same as the Gambit but lacking the shaper and drive? And in Console 1 they miss M/S, three EQ bands and so on. I’m not a fan of the Softube upgrade policy, I would gladly pay a reasonable price for the Gambit for the shaper and drive and have both options as I already have the meat and potatoes of the plugin, but I don’t want to pay for the bundle with DS1 or EQ1 which I don’t think I’ll ever need.

And the same applies to other plugins so that if I intend to use for example the Zener-Bender or Empirical Labs plugins only in Console 1, there’s no point to get the whole bundle but just the channel strip? The full Zener-Bender has M/S but the strip is less than half the price so I could get for example the Zener-Bender strip and British Class A for way less than paying for the Zener-Bender bundle.

I’m a composer and producer mainly for games and have to make all sorts of music but mainly hybrid orchestral. Which Console 1 compatible plugins would best complement the Weiss and Germanium plugins that I already have and offer me a nice collection of tools for different genres? I’m going to demo some of the plugins in sale but I’d appreciate suggestions.
Old 1 week ago | Show parent
  #5104
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Welkin ➡️
I’m in the same boat, I have just gotten the Console 1 and I’m tempted by the sale. I have the Console 1 compatible Chandler Germanium, Weiss C/L and Weiss MP and I’m a bit confused with the different channel strips and the integration of other Console 1 compatible plugins.

Have I understood correctly that having the Weiss C/L and MP is a good choice over the Gambit only if they are used outside the Console 1, and in Console 1 they are essentially the same as the Gambit but lacking the shaper and drive? And in Console 1 they miss M/S, three EQ bands and so on. I’m not a fan of the Softube upgrade policy, I would gladly pay a reasonable price for the Gambit for the shaper and drive and have both options as I already have the meat and potatoes of the plugin, but I don’t want to pay for the bundle with DS1 or EQ1 which I don’t think I’ll ever need.

And the same applies to other plugins so that if I intend to use for example the Zener-Bender or Empirical Labs plugins only in Console 1, there’s no point to get the whole bundle but just the channel strip? The full Zener-Bender has M/S but the strip is less than half the price so I could get for example the Zener-Bender strip and British Class A for way less than paying for the Zener-Bender bundle.

I’m a composer and producer mainly for games and have to make all sorts of music but mainly hybrid orchestral. Which Console 1 compatible plugins would best complement the Weiss and Germanium plugins that I already have and offer me a nice collection of tools for different genres? I’m going to demo some of the plugins in sale but I’d appreciate suggestions.
SSL 9000k for classical and jazz is fantastic, it adds a really nice polish to everything. I love the British class A for something that I want to be a little darker and weightier, vs the 9000 for clarity and openness.

I demoed the American class A when I purchased console 1 but didn’t buy it, I went for British instead because it was so different from the ssl 4000 and 9000 (I got the 9000 with console 1 as it was used and bundled together).

But I think the American class A is the next one I’m getting when I’m in a position to do it. I use the API vision strip pieces with console 1 and love what they do. I remember the American class A bring up front and cleaner than I thought it would be (in a good way) and that it also added a “weight,” but in a less obvious way than the British class A does. I can say also that I really have no experience with any real API preamps or mixers, so that probably has something to do with my uncertain expectations of the sound. But the api vision has become my favorite uad unison preamp so I’d imagine that once I do get in a position to use the “real” gear I’m going to enjoy it.
Old 1 week ago | Show parent
  #5105
Gear Head
 
🎧 10 years
I tried most of the channel strips and I'm a bit underwhelmed. I tried mixing all sorts of music but failed to connect with any of the strips. The EQs sound pretty much the same but most of them are rather limited with their controls. Given that the ones that I have (SSL 4000 and Weiss MP) are the most flexible ones, I don't feel any of the other EQs offer me anything new. The compressors are different but still I feel that the ones that I have (SSL 4000, Weiss, Germanium) offer enough variety. Did I really come to the conclusion that I can pass a sale or am I missing something here?
Old 1 week ago
  #5106
Lives for gear
 
microwave's Avatar
A combination of SSL 4000 and American Class A works best for me. I also have the British Class A but I don't use it as much. I don't feel the need of adding other channel strips.
I also use UAD plugins, and those add more variety to C1 when needed, in particular the UAD Dbx is the compressor that I use most for instrumental tracks. It integrates with C1 perfectly.
Also, I find the two drive flavours that came with Console 1 Fader the most usable and best sounding.
Old 1 week ago
  #5107
Gear Addict
I think there are sound differences, but also limitations with each. If you are having a hard time connecting with a strip, I recommend mixing the same tune with different strips.

I like to have a verse and chorus recorded. So we are talking about 90 seconds of audio recorded. Then I will mix it with only the BCA first, then ACA, then SSL400, then Summit, then Chandler, and so on. The limitations of each strip are part of their strengths. Hearing a whole mix done with one channel also helps you hear the color of that strip. Hope that helps.
Old 1 week ago | Show parent
  #5108
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Welkin ➡️
I tried most of the channel strips and I'm a bit underwhelmed. I tried mixing all sorts of music but failed to connect with any of the strips. The EQs sound pretty much the same but most of them are rather limited with their controls. Given that the ones that I have (SSL 4000 and Weiss MP) are the most flexible ones, I don't feel any of the other EQs offer me anything new. The compressors are different but still I feel that the ones that I have (SSL 4000, Weiss, Germanium) offer enough variety. Did I really come to the conclusion that I can pass a sale or am I missing something here?
The thing that I do right after inserting console 1 on every channel is hit the all button and turn the drive up on every channel to 5 as a starting point. I don’t know if you’re doing that, but 5 is considered the “normal” drive that would exist when using the console. That’s when it comes alive. Then throughout the mix I might give certain channels a little more drive, but I don’t usually ever go below 5.

Once I do that, then I’ll use the all button to switch among strips if I’m not sure yet, but generally I know that I want 9000 for classical, jazz, or something I want to sound modern and open, British class A for weight but knowing the top end, at least with all eq flat, is more reserved.

I just added the American class A and summit grand channel yesterday. American class A is like I remember from the demo- forward sounding. I haven’t really gotten to know the grand channel yet.

Also, I hear the drive character, and I find this most true with the British class A, as a “front to back knob.” Negative character values move something back in the mix and positive bring it closer. With the 9000 it’s more subtle for sure.

Maybe you, and anyone else, is already doing that, but I just wanted to share that in case anyone hasn’t tried that.
Old 1 week ago | Show parent
  #5109
Lives for gear
 
Quote:
Originally Posted by mrufino1 ➡️
The thing that I do right after inserting console 1 on every channel is hit the all button and turn the drive up on every channel to 5 as a starting point. I don’t know if you’re doing that, but 5 is considered the “normal” drive that would exist when using the console. That’s when it comes alive. Then throughout the mix I might give certain channels a little more drive, but I don’t usually ever go below 5.

Once I do that, then I’ll use the all button to switch among strips if I’m not sure yet, but generally I know that I want 9000 for classical, jazz, or something I want to sound modern and open, British class A for weight but knowing the top end, at least with all eq flat, is more reserved.

I just added the American class A and summit grand channel yesterday. American class A is like I remember from the demo- forward sounding. I haven’t really gotten to know the grand channel yet.

Also, I hear the drive character, and I find this most true with the British class A, as a “front to back knob.” Negative character values move something back in the mix and positive bring it closer. With the 9000 it’s more subtle for sure.

Maybe you, and anyone else, is already doing that, but I just wanted to share that in case anyone hasn’t tried that.
Very helpful info. Thanks.

I love the Summit for bass. Very controlled imo.

I knew about Drive at 5 being the standard on the console but can't believe I have been overlooking the "ALL" button lol. This should be really useful cheers.

Also I think Drive on the Weiss is not saturation but instead it is used for pushing the Weiss Limiter harder for the Weiss CS since that is meant to be a very clear/transparent strip.
Old 1 week ago
  #5110
Lives for gear
 
augustusarnone's Avatar
I use the Summit or Tube Tech strips a lot, in contrast to the SSL 9000K. It's nice to have a smoother option. The TLA is basically like an LA2A, nothing like any of the other strip compressors. I think the BCA comp and EQ are quite different than the SSL too though. The BCA EQ can really create the impression of size, and the top end has a sweetness to it that is unique, IMO. The compressor also has a really meaty THUNK to it.
Old 1 week ago
  #5111
Gear Addict
 
Silky Smoove's Avatar
 
🎧 5 years
I've refined my default strip quite a bit over the last year. I start with the British Class A (Neve'ish) strip. I like the steps and slopes on the HPF and LPF a lot, and I also think the drive section is the nicest sounding of the bunch (that I own) for some reason that I can't quite put my finger on. I set the input gain to be around -6 on the C1 meter as that seems to make the compressor and drive sections respond most predictably. Like many folks I start with the drive set at 5 and then adjust up and down from there. With the input meter peaking around -6 I find that the drive is useful up to about 7 unless you're intentionally going for a hard driven sound.

For the shape section I find that the default British Class A module doesn't do it for me. The American Class A (API'ish) or the SSL 4K shape section both work well enough that I'm happy with either for this task. More often than not I use the American Class A. This is easily my least used portion of the C1 system, but it's certainly handy to have if you need very broad gating or transient shaping as opposed to something more surgical which I would instantiate outside of C1.

For the EQ I use the American Class A Original EQ 100% of the time. I like the frequencies, I like the gain steps and I like the progressive Q. It is a "big changes" type of EQ. It's not one that I like if I'm trying to notch out some problematic frequency. For that task I always instantiate a more surgical EQ, such as Crave DSP's EQ, outside of C1. The American Class A Original EQ let's me get the big picture EQ work done very quickly and it's almost always sufficient without adding additional EQs into the chain.

The compression section is the most variable for me. I tend to purpose-pick the compressor for the task. The American Class A Punchy is my go-to for drums and percussion. The American Class A Smooth is my go-to for guitars, keys and similar melodic instruments that are not bass. For bass, whether it be bass guitar, upright bass or synth bass, I've really been enjoying the TLA-100. If the bass is really peaky and I need to hammer it with a faster attack compressor to keep things under control I prefer to do it with something like an 1176 plugin before it makes it to C1, or if it's really inconsistently played I'll automate a gain plugin ahead of C1 to even things out. Well played and recorded bass parts tend to sit well enough with just the TLA-100. It adds a lot of weight and thickness in just the right spots for bass in my mixes. Vocals also go through the TLA-100 most of the time. I like the way it thickens up vocals in a pleasant way and the attack/release is very smooth in a way that doesn't detract from the vocals to my ears.
Old 1 week ago | Show parent
  #5112
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Neptune45 ➡️
Very helpful info. Thanks.

I love the Summit for bass. Very controlled imo.

I knew about Drive at 5 being the standard on the console but can't believe I have been overlooking the "ALL" button lol. This should be really useful cheers.

Also I think Drive on the Weiss is not saturation but instead it is used for pushing the Weiss Limiter harder for the Weiss CS since that is meant to be a very clear/transparent strip.
Cool, I’ll work with the summit more soon, I’m working on a classical mix today (piano, violin, cello trio) so sticking mostly with the 9000, although I did just switch to the British class A on the cello. I used a 414 on cello, probably not my best choice there, I wound up with some high end that was a little harsh. The British class A helped smooth it out.

I don’t have the Weiss strip, I’ll demo it someday.

The all button is really helpful! It’s a little tricky to get your hands coordinated at first, because you need to hold shift and all, then keep holding all while pressing shift and strip to select a new strip across the board (pardon the pun), or to do drive on all strips together you have to keep holding all with one hand and then reach under and turn the drive knob with the other. Apparently the mkI version had a way to keep “all” engaged without having your finger on it, but mkII does not. That would be nice, but I’ve gotten used to the ballet with my hands, so not too big of a deal.
Old 1 week ago | Show parent
  #5113
Gear Head
 
🎧 10 years
Thanks for the suggestions! I tried better gainstaging with the input gain and drive and got overall better results, but I still feel that the SSL 4000, Weiss and Germanium are the best of the bunch on sale. I might get the BCA as it feels different, the drive is nice and the price is right, but other than that waiting for a sale for the Tube-Tech, American and Summit seems like the way to go for me.
Old 1 week ago | Show parent
  #5114
Lives for gear
 
e-are's Avatar
 
🎧 15 years
Quote:
Originally Posted by mrufino1 ➡️
The thing that I do right after inserting console 1 on every channel is hit the all button and turn the drive up on every channel to 5 as a starting point. I don’t know if you’re doing that, but 5 is considered the “normal” drive that would exist when using the console. That’s when it comes alive. Then throughout the mix I might give certain channels a little more drive, but I don’t usually ever go below 5.

Once I do that, then I’ll use the all button to switch among strips if I’m not sure yet, but generally I know that I want 9000 for classical, jazz, or something I want to sound modern and open, British class A for weight but knowing the top end, at least with all eq flat, is more reserved.

I just added the American class A and summit grand channel yesterday. American class A is like I remember from the demo- forward sounding. I haven’t really gotten to know the grand channel yet.

Also, I hear the drive character, and I find this most true with the British class A, as a “front to back knob.” Negative character values move something back in the mix and positive bring it closer. With the 9000 it’s more subtle for sure.

Maybe you, and anyone else, is already doing that, but I just wanted to share that in case anyone hasn’t tried that.
I changed my default preset adding drive at 5 to all strips. When I load my strips, the drive is at 5.
Old 1 week ago | Show parent
  #5115
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by e-are ➡️
I changed my default preset adding drive at 5 to all strips. When I load my strips, the drive is at 5.
Ah, right, I should do that to save a step! Thanks for the reminder.
Old 1 week ago | Show parent
  #5116
Lives for gear
 
Quote:
Originally Posted by Silky Smoove ➡️
I've refined my default strip quite a bit over the last year. I start with the British Class A (Neve'ish) strip. I like the steps and slopes on the HPF and LPF a lot, and I also think the drive section is the nicest sounding of the bunch (that I own) for some reason that I can't quite put my finger on. I set the input gain to be around -6 on the C1 meter as that seems to make the compressor and drive sections respond most predictably. Like many folks I start with the drive set at 5 and then adjust up and down from there. With the input meter peaking around -6 I find that the drive is useful up to about 7 unless you're intentionally going for a hard driven sound.

For the shape section I find that the default British Class A module doesn't do it for me. The American Class A (API'ish) or the SSL 4K shape section both work well enough that I'm happy with either for this task. More often than not I use the American Class A. This is easily my least used portion of the C1 system, but it's certainly handy to have if you need very broad gating or transient shaping as opposed to something more surgical which I would instantiate outside of C1.

For the EQ I use the American Class A Original EQ 100% of the time. I like the frequencies, I like the gain steps and I like the progressive Q. It is a "big changes" type of EQ. It's not one that I like if I'm trying to notch out some problematic frequency. For that task I always instantiate a more surgical EQ, such as Crave DSP's EQ, outside of C1. The American Class A Original EQ let's me get the big picture EQ work done very quickly and it's almost always sufficient without adding additional EQs into the chain.

The compression section is the most variable for me. I tend to purpose-pick the compressor for the task. The American Class A Punchy is my go-to for drums and percussion. The American Class A Smooth is my go-to for guitars, keys and similar melodic instruments that are not bass. For bass, whether it be bass guitar, upright bass or synth bass, I've really been enjoying the TLA-100. If the bass is really peaky and I need to hammer it with a faster attack compressor to keep things under control I prefer to do it with something like an 1176 plugin before it makes it to C1, or if it's really inconsistently played I'll automate a gain plugin ahead of C1 to even things out. Well played and recorded bass parts tend to sit well enough with just the TLA-100. It adds a lot of weight and thickness in just the right spots for bass in my mixes. Vocals also go through the TLA-100 most of the time. I like the way it thickens up vocals in a pleasant way and the attack/release is very smooth in a way that doesn't detract from the vocals to my ears.
All this is great advice. Thanks for the information and sharing your experience.

Setting the CS with your favourite LC, HC and Drive makes a lot of sense since those are the areas which can't be configured separately. I'll give the BCA a whirl.

Cheers.
Old 1 week ago | Show parent
  #5117
Lives for gear
 
Quote:
Originally Posted by Welkin ➡️
Thanks for the suggestions! I tried better gainstaging with the input gain and drive and got overall better results, but I still feel that the SSL 4000, Weiss and Germanium are the best of the bunch on sale. I might get the BCA as it feels different, the drive is nice and the price is right, but other than that waiting for a sale for the Tube-Tech, American and Summit seems like the way to go for me.
If you look under Unlockable Offers on Softube's website, both the American Class A and Tube Tech Compressor are going to go on sale during a weekend this month. Just thought I'd give you the heads up in case you didn't all ready know.
Old 1 week ago | Show parent
  #5118
Lives for gear
 
Quote:
Originally Posted by mrufino1 ➡️
The all button is really helpful! It’s a little tricky to get your hands coordinated at first, because you need to hold shift and all, then keep holding all while pressing shift and strip to select a new strip across the board (pardon the pun), or to do drive on all strips together you have to keep holding all with one hand and then reach under and turn the drive knob with the other. Apparently the mkI version had a way to keep “all” engaged without having your finger on it, but mkII does not. That would be nice, but I’ve gotten used to the ballet with my hands, so not too big of a deal.
Yeah - I don't think it should be that difficult to program a latch function or some way to go in to settings to allow for it etc. This should also be done with the Shift button for sends. Especially if you have the Console Fader for example.

However as you say all's good and Console 1 is proving to be amazing and I seem to learn a new function every few weeks lol.
Old 1 week ago
  #5119
Lives for gear
 
Has anyone got/demoed ELI Trak Pak CS yet? I love my two ELI plugins Arouser and BigFrEQ so might have to give that one a demo at some point - (I do however realise that my two plugins were coded by ELI themselves whereas this is done by Softube under licence).
Old 1 week ago | Show parent
  #5120
Gear Addict
Quote:
Originally Posted by Neptune45 ➡️
Has anyone got/demoed ELI Trak Pak CS yet? I love my two ELI plugins Arouser and BigFrEQ so might have to give that one a demo at some point - (I do however realise that my two plugins were coded by ELI themselves whereas this is done by Softube under licence).

Yea, I like it. It’s different. I’ve had luck with it on Rock vocals, BGVs, overheads, and highhats.
Old 1 week ago | Show parent
  #5121
Gear Head
 
🎧 10 years
Quote:
Originally Posted by Neptune45 ➡️
Has anyone got/demoed ELI Trak Pak CS yet? I love my two ELI plugins Arouser and BigFrEQ so might have to give that one a demo at some point - (I do however realise that my two plugins were coded by ELI themselves whereas this is done by Softube under licence).
I've demoed all and own BCA, ACA, SSL4K, Summit.

It will be a close call if I want to go with ELI or SSL9K for the next one. ELI sounded great and I like the EQ. It might be oversampled or something because it seemed to take up more resources.
Old 1 week ago | Show parent
  #5122
Lives for gear
 
Quote:
Originally Posted by melodic dreamer ➡️
Yea, I like it. It’s different. I’ve had luck with it on Rock vocals, BGVs, overheads, and highhats.
Good to know. I thought it would be more suited to rock given ELI's character - cheers.

Quote:
Originally Posted by ragnarokzwei ➡️
I've demoed all and own BCA, ACA, SSL4K, Summit.

It will be a close call if I want to go with ELI or SSL9K for the next one. ELI sounded great and I like the EQ. It might be oversampled or something because it seemed to take up more resources.
ELI's two plugins Arouser and BigFrEQ both have oversampling but haven't tried any Softube coded ones of theirs yet but I am guessing they will have so that could explain it.
Old 1 week ago
  #5123
Lives for gear
 
augustusarnone's Avatar
I kind of doubt these are oversampled. I could be wrong but - a) they're aimed at mixing, and being able to use a lot of instances. And b) all the other channel strips have aliasing which is a bit higher than some other plugins I own. They can't oversample if they have the aliasing they do, and I tested 4 of the strips. I doubt ELI will be different
Old 5 days ago | Show parent
  #5124
Gear Maniac
 
simonharris's Avatar
 
🎧 10 years
Quote:
Originally Posted by Softube ➡️
That is not a bad idea at all. I'll add it to the list of feature requests.




First, most people really like the slightly slow and sexy response from the graphics—we actually get a lot of positive comments on just that. But with that said, we are looking into a few graphical optimizations, among those to at least be able to have a swifter response.



Very glad to hear, thanks!

Cheers,
Henrik
Hi Henric, OK here are several suggestions: 1) Logic users: Please find a way for the 'select track' buttons to select tracks in Logic, surely there must be a way for this to be possible using midi?? Thwe most awkward thing about this is clicking around trying to find the right track - even if you did it so that the Console 1 acted as the slave and went to the track that is selected in Logic that would work but having this disconnect is a pain . . . . . 2) (Hardware suggestion): The LED indicators are hard to see from any angle except direct view, this is because they are mounted on the board so far below the holes - what is needed is either the LEDs to be mounted to the top panel or some light transfer optic in each hole to transfer the LED light to the surface.
Old 5 days ago | Show parent
  #5125
Gear Addict
 
🎧 5 years
I have a strange but annoying problem lately. At least one time a week Console one loses all of its settings. The osd appears on the wrong screen with the wrong size, the alert when the daw has total integration or not is turned on again etc.
Has somebody a clue what could trigger this and where these settings are stored?
Old 5 days ago | Show parent
  #5126
Gear Head
 
🎧 10 years
Quote:
Originally Posted by folkfreak ➡️
I have a strange but annoying problem lately. At least one time a week Console one loses all of its settings. The osd appears on the wrong screen with the wrong size, the alert when the daw has total integration or not is turned on again etc.
Has somebody a clue what could trigger this and where these settings are stored?
Is it supposed to remember the location on the screen? I got it to remember it's size but not location. It opens on the upper left corner of screen one while I would like it to fill whole screen three.
Old 5 days ago | Show parent
  #5127
Lives for gear
 
Quote:
Originally Posted by folkfreak ➡️
I have a strange but annoying problem lately. At least one time a week Console one loses all of its settings. The osd appears on the wrong screen with the wrong size, the alert when the daw has total integration or not is turned on again etc.
Has somebody a clue what could trigger this and where these settings are stored?
I had the same problem. Fixed it by manually closing the OSD program and restarting it.
Old 5 days ago | Show parent
  #5128
Gear Addict
 
Silky Smoove's Avatar
 
🎧 5 years
Quote:
Originally Posted by Welkin ➡️
Is it supposed to remember the location on the screen? I got it to remember it's size but not location. It opens on the upper left corner of screen one while I would like it to fill whole screen three.
Mine always remembers size and location both of which I’ve setup to work as seamlessly as possible with my mixer view.
Old 3 days ago
  #5129
Gear Maniac
 
simonharris's Avatar
 
🎧 10 years
Quite honestly this was not a good purchase for Logic, I just waste so much time pressing all the select track buttons trying to find the correct one in Logic, they could rectify this at the very least by making the plugin window the same as the standalone (on screen display app) window with the graphs/level meter but you have the choice of either clicking around trying to get the right track in that or going direct to a plugin window that is just a bunch of knobs and nowhere near as sophisticated as the standalone app window . . . . . I think this more for Pro Tools users than Logic . . . .
Old 3 days ago | Show parent
  #5130
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by simonharris ➡️
Quite honestly this was not a good purchase for Logic, I just waste so much time pressing all the select track buttons trying to find the correct one in Logic, they could rectify this at the very least by making the plugin window the same as the standalone (on screen display app) window with the graphs/level meter but you have the choice of either clicking around trying to get the right track in that or going direct to a plugin window that is just a bunch of knobs and nowhere near as sophisticated as the standalone app window . . . . . I think this more for Pro Tools users than Logic . . . .
I use this with Logic every day and I don’t find it difficult to navigate. But no piece of gear is right for everyone. I used it in studio one and didn’t like it as much with the integration to be honest. Likewise for reaper.
📝 Reply

Similar Threads

Thread / Thread Starter Replies / Views Last Post
replies: 4616 views: 610149
Avatar for smoke
smoke 1 week ago
replies: 97 views: 36699
Avatar for mowmow
mowmow 15th September 2010
replies: 86 views: 9347
Avatar for Transistor
Transistor 13th September 2016
replies: 265 views: 61210
Avatar for Jeezo
Jeezo 30th November 2020
Topic:
Post Reply

Welcome to the Gearspace Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…

Forum Jump
Forum Jump